HCMF

Christopher Fox – Chambre privée (World Première)

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Imagine a culture in which the string quartet has no history. No Haydn, no late-Beethoven, no Bartok, no Eleanor Rigby. How would a group of four string players – why four? why not? why two violins? maybe the bass player couldn’t get up the stairs… How would a group of four string players know what to play, how to play together?

The next work featured in my Lent series is Chambre privée, a new quartet from Christopher Fox which was premièred at Huddersfield last November. It’s a piece i find interesting, but not really at all for the reasons the composer is intending. The trouble is that potentially fascinating conceit described in the programme note—or, rather, the sounds his quartet makes with regard to that conceit. Their behaviour for much of the piece is, as Fox states, “tentative”, guarded even. But not, as one might imagine, toward one another; on the contrary, the quartet immediately coalesces into a homogeneous unit articulating an extended series of soft, meticulously placed chords. Why do they act together? why are they so cautious? so restrained? so careful? The chords themselves aren’t particularly suggestive of anything, per se (although the ear makes a progression of sorts from them), yet they overwhelmingly sound sculpted, considered, not at all the product of spontaneity arising from the blank pages of non-history. Being spontaneous doesn’t necessarily connote chaos, of course, but—considering these players have supposedly nothing upon which to predicate their actions—is it really commensurate with instantaneous, long-term order? Read more

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Simon Steen-Andersen – String Quartet No. 2 (UK Première)

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If there’s one thing practically guaranteed every year at the Huddersfield Contemporary Music Festival, it’s the presence of a string quartet that approaches the medium from a radical perspective, one that does away, almost entirely, with its traditions and connotations. The next work in my Lent series focussing on new quartets is just such a piece: Simon Steen-Andersen‘s String Quartet No. 2, given its first UK performance at HCMF 2012 by the Bozzini Quartet. It wasn’t so very long ago, writing about another recent quartet, Hans Abrahamsen’s String Quartet No. 4, that i critiqued quite harshly music that stretched its modest quota of restricted material far, far too thinly, with mind-numbing results. By contrast, Steen-Andersen demonstrates that it’s possible to confine almost every aspect of the work while maintaining high levels of invention and interest. Read more

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Richard Barrett – 13 selfportraits (UK Première)

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The next quartet i’m including in my Lent series is one that i’ve been grappling with for over a decade. When Richard Barrett’s 13 selfportraits was given its first UK performance at the Huddersfield Festival in 2002, i can’t have been the only person in the audience to have been struck hard by its apparent impenetrability. That’s not an epithet one would usually associate with Barrett; there’s layer upon layer of intricacy and connotation in his work, but almost always borne by material that’s both immediate and strikingly emotional. Put crudely, grasping exactly what Barrett’s on about isn’t always straight forward, but getting where he’s coming from certainly is. All of which makes the 13 selfportraits even more of an unusual and inscrutable entity.

It’s perhaps not unreasonable to find the work problematic; in his programme note, Barrett addresses this when explaining its structural aspects:

Although it does indeed consist of thirteen structural elements (of widely differing durations), these do not follow each other in sequence but are often fragmented, alternated, superimposed and so on; one of them is distributed throughout the work’s duration, ending as well as beginning it, and reappearing within and between the others. So it is neither a composition in several independent parts nor a single unfolding time span, but a combination of the two.

I am rather intrigued by the fact that exactly the same music might be described as “confused and incoherent” or on the other hand “a sequence of exquisite miniatures” depending on whether it presents itself in the form of separate “movements” or not. (Imagine, for example, playing Webern’s op.10 without any breaks between the pieces, or even overlapping them…) The present work attempts not to define itself one way or the other, so that if it does sound confused, then perhaps it might be exquisitely so.

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HCMF 2012: Cikada Ensemble

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The last concert i attended in my weekend at HCMF 2012 took place back in Bates Mill, in the company of Norway’s remarkable Cikada Ensemble, whom i’ve been fortunate to hear on a number of occasions. More than most, Cikada tend to give off an air of almost aggressive fearlessness, and while that quality permeated this concert in abundance, the three exceptionally diverse works they explored nonetheless each delivered varying amounts of frustration. Read more

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HCMF 2012: Arditti Quartet

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Two months may have passed, but memories of the all-too-brief weekend i spent at HCMF 2012 are alive and well; so let’s pick up where i left off.

The second day of my HCMF experience began once again in St Paul’s Hall, confronted by the understated marvel that is the Arditti Quartet. Despite the palpable excitement that pervaded the previous day’s concerts, the atmosphere in the hall on this occasion was that unique kind of highly-charged tension that only a few performers and ensembles can engender. The quartet had brought with them four works that initially seemed strikingly different from each other, but three of them ultimately proved to be united by a common line of enquiry, making the most of out of, materially speaking, very little. Read more

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HCMF 2012: Ensemble Resonanz

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The first day of my weekend at HCMF ended back where it had begun, in St Paul’s Hall, for a late-night concert by Ensemble Resonanz, conducted by Peter Rundel. The concert was broadcast live on Radio 3 and comprised just three pieces, all focussing on strings, two of which featured solo cello, played by Jean-Guihen Queyras.

It began with the UK première of Rolf Wallin‘s Ground, the title of which alludes to the cyclic Baroque form of divisions, whereby a repeating bassline (the ground) is gradually overlaid with layers of faster material. That description probably suggests a certain amount of mayhem, but Ground is a decidedly pensive piece—Wallin describes it as “about finding rest”—in which the solo cello is closely surrounded by the rest of the strings, together forming a close collaboration. Furthermore, while the work has no repeating bassline (seven chords are the indiscernible equivalent here), it is highly episodic, exploring an extensive cycle of moods and atmospheres. A collaboration it may be, but it’s an intrepid one, bringing to mind a gradual descent into the earth (a connotation of the title?), passing through increasingly dark and ambiguous layers of strata. What makes the piece particularly interesting is its central melodic identity; Wallin allows tension to manifest itself in diffident, unstable music, but it never comes off the rails, preserving the sense of a pre-planned mission, rather than a mystery tour. At the work’s conclusion it enters its most cryptic episode; bordering on a stasis, both soloist and strings arrange themselves into a dense web of gently wafting notes. It begs the question: is this the ‘rest’ Wallin was striving for? or is the mission not yet completed? Read more

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HCMF 2012: Oslo Sinfonietta

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Following a collection of strangers down a bleak back street to a gloomy factory and then passing through a makeshift entrance labelled ‘The Blending Shed’ might sound like the makings of a nightmare, but this was the way in which i found myself at Bates Mill, for yesterday evening’s concert given by the Oslo Sinfonietta. What constitutes a sign? What do words and gestures really signify? How do we interpret them, and when we have, how might others respond? These questions occupied both of the works featured in the concert, which were each receiving their UK première.

Ignas KrunglevičiusGradients is founded on a bizarre exchange initiated by two Cornell PhD students: a conversation between two online chatbots, their addled, artificially intelligent dialogue forming Krunglevičius’ libretto. The piece didn’t feel promising at first, comprising a series of sliding overlapping lines on and around the same pitch, dripping with dissonance, while four singers (members of the Norwegian Soloists’ Choir) uttered a related sequence of open-mouthed ululations. So far, so meh. Read more

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